'Maybe Happy Ending' tops Broadway's Tony Awards
Maybe Happy Ending, a South Korean musical adapted for Broadway about two robots who find connection, won big at Sunday's Tony Awards, scooping up six prizes at the gala celebrating the best in American theatre.
Stars of the season Cole Escola and Nicole Scherzinger also won their first Tonys, on a night that celebrated Broadway's revival after a years-long pandemic slump.
Cynthia Erivo - the Oscar-nominated Wicked star who herself boasts a Tony - hosted the ceremony at Manhattan's Radio City Music Hall honoring this year's buzzy, diverse competitive slate .
It was Broadway's most financially lucrative year ever, she told the crowd.
"Broadway is officially back - provided we don't run out of cast members from Succession ," she joked, referring to the decorated TV dramedy about a family's media empire.
Sarah Snook - who scored an Emmy for her role in Succession - won the Tony for best leading actress in a play, taking on all 26 roles in the stage adaptation of Oscar Wilde's novel The Picture Of Dorian Gray.
A host of new shows and stars drew 14.7 million people to the Broadway performances this season, grossing US$1.89bil (RM8.88bil) at the box office.
Some of showbiz's biggest names graced New York's stages, including George Clooney, Denzel Washington, Jake Gyllenhaal - and Snook's Succession co-stars Kieran Culkin and Jeremy Strong.
"Please go to the theatre, whether it's a Broadway show or a school play," said Michael Arden, who won a Tony for best direction of a musical for Maybe Happy Ending.
Darren Criss of Glee fame - already an Emmy winner for portraying killer Andrew Cunanan in The Assassination Of Gianni Versace: American Crime Story - won the Tony for lead actor in that musical.
"I have such immense pride to get to be part of this notably diverse exquisite Broadway season this year," he told the audience as he accepted his award.
Scherzinger bested a packed field including the legendary Audra McDonald - the performer with the most Tonys in history - for best actress in a musical for her role as faded star Norma Desmond in Sunset Boulevard, which also won for best revival of a musical.
"If there's anyone out there who feels like they don't belong or your time hasn't come, don't give up," said an emotional Scherzinger, who once fronted the pop girl group The Pussycat Dolls.
"Just keep on giving and giving because the world needs your love and your light now more than ever. This is a testament that love always wins."
'Oh, Mary!'
Even though Escola's hit dark comedy Oh, Mary! was the favorite for best new play, the award went to intense family portrait Purpose by Branden Jacobs-Jenkins, which also won the 2025 Pulitzer Prize for Drama.
But Escola still won big for their unhinged performance in the one-act reimagining of Abraham Lincoln's assassination through the eyes of his wife - a raging alcoholic who dreams of life as a cabaret star.
Escola bested a stacked field that included Clooney.
Oh, Mary! also snagged the prize for best direction, won by Sam Pinkleton.
"You have taught me to make what you love and not what you think people want to see," Pinkleton said in his speech, speaking directly to a tearful Escola.
"We can bring joy to people at the end of a crappy day and that feels like a big deal to me," Pinkleton added to ardent applause.
The night's rollicking performances included a gripping rendition of Rose's Turn from McDonald, and a captivating performance of As If We Never Said Goodbye from Scherzinger.
The gala also featured a much-touted reunion of the original cast of Hamilton, as that groundbreaking smash musical by Lin-Manuel Miranda celebrates its 10th anniversary.
A heartfelt segment honoured those the theatre community lost over the past year, with Erivo and Sara Bareilles delivering the classic Tomorrow from Annie.
The song's composer, Charles Strouse, died last month.
Some acceptance speeches made oblique references to ongoing political turmoil across the United States, as President Donald Trump's immigration raids trigger protests. But Trump was not explicitly mentioned. - AFP
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'Maybe Happy Ending' tops Broadway's Tony Awards
Maybe Happy Ending, a South Korean musical adapted for Broadway about two robots who find connection, won big at Sunday's Tony Awards, scooping up six prizes at the gala celebrating the best in American theatre. Stars of the season Cole Escola and Nicole Scherzinger also won their first Tonys, on a night that celebrated Broadway's revival after a years-long pandemic slump. Cynthia Erivo - the Oscar-nominated Wicked star who herself boasts a Tony - hosted the ceremony at Manhattan's Radio City Music Hall honoring this year's buzzy, diverse competitive slate . It was Broadway's most financially lucrative year ever, she told the crowd. "Broadway is officially back - provided we don't run out of cast members from Succession ," she joked, referring to the decorated TV dramedy about a family's media empire. Sarah Snook - who scored an Emmy for her role in Succession - won the Tony for best leading actress in a play, taking on all 26 roles in the stage adaptation of Oscar Wilde's novel The Picture Of Dorian Gray. A host of new shows and stars drew 14.7 million people to the Broadway performances this season, grossing US$1.89bil (RM8.88bil) at the box office. Some of showbiz's biggest names graced New York's stages, including George Clooney, Denzel Washington, Jake Gyllenhaal - and Snook's Succession co-stars Kieran Culkin and Jeremy Strong. "Please go to the theatre, whether it's a Broadway show or a school play," said Michael Arden, who won a Tony for best direction of a musical for Maybe Happy Ending. Darren Criss of Glee fame - already an Emmy winner for portraying killer Andrew Cunanan in The Assassination Of Gianni Versace: American Crime Story - won the Tony for lead actor in that musical. "I have such immense pride to get to be part of this notably diverse exquisite Broadway season this year," he told the audience as he accepted his award. Scherzinger bested a packed field including the legendary Audra McDonald - the performer with the most Tonys in history - for best actress in a musical for her role as faded star Norma Desmond in Sunset Boulevard, which also won for best revival of a musical. "If there's anyone out there who feels like they don't belong or your time hasn't come, don't give up," said an emotional Scherzinger, who once fronted the pop girl group The Pussycat Dolls. "Just keep on giving and giving because the world needs your love and your light now more than ever. This is a testament that love always wins." 'Oh, Mary!' Even though Escola's hit dark comedy Oh, Mary! was the favorite for best new play, the award went to intense family portrait Purpose by Branden Jacobs-Jenkins, which also won the 2025 Pulitzer Prize for Drama. But Escola still won big for their unhinged performance in the one-act reimagining of Abraham Lincoln's assassination through the eyes of his wife - a raging alcoholic who dreams of life as a cabaret star. Escola bested a stacked field that included Clooney. Oh, Mary! also snagged the prize for best direction, won by Sam Pinkleton. "You have taught me to make what you love and not what you think people want to see," Pinkleton said in his speech, speaking directly to a tearful Escola. "We can bring joy to people at the end of a crappy day and that feels like a big deal to me," Pinkleton added to ardent applause. The night's rollicking performances included a gripping rendition of Rose's Turn from McDonald, and a captivating performance of As If We Never Said Goodbye from Scherzinger. The gala also featured a much-touted reunion of the original cast of Hamilton, as that groundbreaking smash musical by Lin-Manuel Miranda celebrates its 10th anniversary. A heartfelt segment honoured those the theatre community lost over the past year, with Erivo and Sara Bareilles delivering the classic Tomorrow from Annie. The song's composer, Charles Strouse, died last month. Some acceptance speeches made oblique references to ongoing political turmoil across the United States, as President Donald Trump's immigration raids trigger protests. But Trump was not explicitly mentioned. - AFP
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"The show was initially really well sold because we had a cast that appealed to a really specific audience,' said producer Greg Nobile of Seaview Productions. "We continued to see the houses sell out because these audiences came, and they were all over online talking about the ways in which they actually felt seen.' Building a Gen Z theatre experience with Gen Z Thomas Laub, 28, and Alyah Chanelle Scott, 27, started Runyonland Productions for that very reason. "We both felt a lot of frustration with the industry, and the ways that we were boxed out of it as students in Michigan who were able to come to New York sparingly,' said Laub. Rachel Zegler as Juliet, right, and Kit Connor as Romeo, during a performance of 'Romeo + Juliet' in New York. Photo: AP Runyonland was launched in 2018 with the premise that highlighting new, bold voices would bring change. This spring, Scott, known for playing Whitney in HBO's Sex Lives Of College Girls, acted off-Broadway in Natalie Margolin's All Nighter. "I was standing onstage and looking out and seeing the college kids that I was playing,' said Scott. "I was like, 'I respect you so much. I want to do you proud. I want to show you a story that represents you in a way that doesn't belittle or demean you, but uplifts you.'' Producing John Proctor, Scott said, gave Runyonland the opportunity to target that audience on a Broadway scale. Belflower developed the show with students as part of a The Farm College Collaboration Project. It's been licensed over 100 times for high school and college productions. The Broadway production's social and influencer marketing is run by 20-somethings, too. Previews attracted fans with a US$29 (RM123) ticket lottery. While average prices jumped to over US$100 (RM423) last week (still below the Broadway-wide average), US$40 (RM169) rush, lottery and standing room tickets have sold out most nights, pushing capacity over 100%. The success is validating Runyonland's mission, Laub said. "Alyah doesn't believe me that I cry every time at the end,' said Laub. Scott laughs. "I just want to assure you, on the record, that I do indeed cry every time.' Harnessing a cultural catharsis The final scene of John Proctor is a reclamation fuelled by rage and Green Light. Capturing that electricity has been key to the show's marketing. "The pullup (in Romeo + Juliet ) is so impactful because it's so real. It's like so exactly what a teenage boy would do,' said Taymor. 'John Proctor Is the Villain' is among a group of Broadway shows that have centred the stories of young people and attracted audiences to match. Photo: AP "I think when you see the girls in John Proctor screaming ... it hits you in a visceral way.' That screaming made the Playbill cover. "In my opinion, the look and feel of that campaign feels different from a traditional theatrical campaign, and it feels a lot closer to a film campaign,' said Laub. The show's team indeed considered the zeitgeist-infiltrating work of their sister industries, specifically studios like Neon and A24. In May, John Proctor Is The Villain finished its second "spirit week' with a school spirit day. Earlier events included an ice cream social - actors served Van Leeuwen - a silent disco and a banned book giveaway. For those not in their own school's colours, the merch stand offered T-shirts, including one printed with the Walt Whitman-channeling line said by Sink's Shelby: "I contain frickin' multitudes.' Julia Lawrence, 26, designed the shirt after the show's team saw her TikTok video reimagining their traditional merch into something more like a concert tee. "It's just so incredible to bring Gen Z into the theatre that way, especially at a time when theatre has never been more important,' said Lawrence. "In a world that's overpowered by screens, live art can be such a powerful way to find understanding.' - AP
